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“A slight duplication of efforts”: redundancy and the excessive camera in Inglourious Basterds

Chris Fujiwara

Chris Fujiwara

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...At the end of the opening credits, a white-on-black title appears: Chapter One/Once upon a time … /in Nazi-occupied France. It is the first of five titles that divide Inglourious Basterds into chapters. After the title, the first shot...

“Fire!” in a crowded theater: liquidating history in Inglourious Basterds

Sharon Willis

Sharon Willis

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino maintains a consistent obsession with the cinema as cinephilia, which he invites his audience to share, in his work’s explicit and ironic play with film history. His films present us with clever, wry, and often...

“What shall the history books read?” The debate over Inglourious Basterds and the limits of representation

Todd Herzog

Todd Herzog

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...In the early 1990s, Mike Godwin formulated a theory of internet behavior that has since become known as Godwin’s Law of Nazi Analogies: “As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler...

Counterfactuals, quantum physics, and cruel monsters in Quentin Tarantino’s Inglourious Basterds

William Brown

William Brown is Senior Lecturer in Film at the University of Roehampton, UK. He is the author of Supercinema: Film-Philosophy for the Digital Age (2013), Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010), with Dina Iordanova and Leshu Torchin, and co-editor, with David Martin-Jones, of Deleuze and Film (2012). Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Inglourious Basterds (2009) shows us history as it wasn’t. The titular Basterds are a bunch of predominantly American Jews dropped into occupied France, where it is their business to kill Nazis. They discover that a Parisian cinema...

Vengeful violence: Inglourious Basterds, allohistory, and the inversion of victims and perpetrators

Michael D. Richardson

Michael D. Richardson

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...When Quentin Tarantino’s long-planned war film premiered at Cannes, it received a nearly ten-minute-long standing ovation.Wigney, James, “Quentin’s Glory Days.” Sunday Mail (South Australia), August 16, 2009, 91. Following its full release,...

Inglourious music: revenge, reflexivity, and Morricone as muse in Inglourious Basterds

Lisa Coulthard

Lisa Coulthard

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...While Inglourious Basterds shares its focus on revenge with many of Tarantino’s other films, it distinguishes itself by the way in which this vengeance moves beyond human parameters to encompass the revenge of cinema itself. Cinema...

In Which We Serve (2015)

Directed by

Noël Coward

and

David Lean

Written by

Noël Coward

Screenplay

Image
...Shipyard. Day. The voice of the Comentator begins to speak over a LONG SHOT of an empty shipyard. The year is 1937. Leslie Howard voice over This is the story of a ship… A giant crane swings the first section of a Destroyer’s keel across...

Disruptive violence as means to create a space for reflection: thoughts on Tarantino’s attempts at audience irritation

Alexander D. Ornella

Alexander D. Ornella

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Introduction Quentin Tarantino’s latest violent masterpiece Inglourious Basterds has been well yet critically received. Many reviewers have pointed out that the film is morally ambivalent the least because of the aesthetics of violence...

Is Tarantino serious? The twofold image of the Auteur and the state of exception

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino might be American cinema’s best know auteur, one of the very few directors whose work is promoted in the U.S. with the “a film by” label. It is a label that, of course, the filmmaker himself tirelessly and skillfully...

Reels of justice: Inglourious Basterds, The Sorrow and the Pity, and Jewish revenge fantasies

Eric Kligerman

Eric Kligerman

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...In his 1978 film Annie Hall, Woody Allen plays a Jewish Pygmalion, Alvy Singer, who tries to educate his gentile girlfriend by introducing her to literature, psychoanalysis and foreign films. In perhaps the film’s most memorable scene...